【作者】 陈刚；

【导师】 刘沛沛；

【作者基本信息】 西南师范大学 ， 美术学， 2005， 硕士

【摘要】 当殖民文化和后现代艺术形式象洪水猛兽一样扑面而来时,架上绘画就象行将淹没的陆地,虽然它只露出水面一角,但它却有着广阔的根基,而艺术家们在当今影像泛滥的汪洋里,象一艘飘浮的方舟,虽已陈旧,但却结实,坚定的行驶在自己的航线里,艺术家们也毫不疲惫,因为他们肩负着振兴架上绘画的责任,毫不懈怠。 本文从艺术植根的文化背景、中国高校美术教育、市场经济、多元化艺术、材料技法、展览机制、批评家、策展人和画家自身多角度剖析了当代架上绘画的现状。从纵向到横向运用艺术哲学、美学、图像学、艺术市场学、艺术社会学、艺术形态学的方法分析,看到了架上绘画的强大生命力,和发展空间,可以预言,一场世界范围内的架上绘画艺术形式的回归即将来临。更多还原

【Abstract】 While the colonial culture and post-modern artistic form come to fore like the fierce floods and savage beasts, it seems as if upon-frame drawing is the land that is on the verge of being submerged. However, even though only a quarter of it has appeared over the surface of the water, the broad foundation still exists. In such a boundless ocean inundated with images nowadays, the artists are seen as the Noah’s Ark, old-fashioned but solid, which navigate firmly in their own routes without exhaustion, because they never slack off in shouldering the responsibility of vitalizing easel painting.This dissertation analyses the present situation modern upon-frame drawing from the angle of culture, artistic education in Chinese colleges and universities, market-oriented economy, pluralistic art, materials, skill and technique, exhibiting mechanism, critics, exhibiting planner, and drawers themselves. Also, it reveals the great vitality of easel painting and its space for development through vertically and horizontally employing the methods of artistic philosophy, aesthetics, study of image, study of artistic market, artistic sociology, and artistic morphology. Therefore, it can be predicted that the artistic form of upon-frame drawing is about to return soon in the whole world.更多还原